Beyond The Mac is not a typewriter : more typographic insights and secrets

225 Pages·1996·31.532 MB·English

by  Williams, Robin

• e Mac
•
1snot
a
typewriter
eMac
•
1snot
a typewriter
More typographic
insights and secrets
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Peachpit Press
Berkeley !1'8 California
Beyond The Mac is not a typewriter
Robin Williams
Peachpit Press
2414 Sixth Street
Berkeley, California 94710
510.548.4393 phone
510.548.5991 fax
Find us on the World Wide Web at http://www.peachplt.com
Peach pit Press is a division of
Addison-Wesley Publishing Company.
Copyright© 1996 by Robin Williams
Cover illustration and cover design by John Tollett
Interior design and production by Robin Williams
Editing and proofing by Jenifer Blakemore
Much of the information in this book was previously printed in various articles in various magazines
over the past few years, including Desktop Communications, Technique Magazine, and Adobe
Magazine. The chapter "Telltale Signs of Desktop Publishing" was originally printed in slighly altered
form in Adobe Magazine, July/August 1995 under the title "Thirteen Telltale Signs." CI995 Adobe
Systems, Inc., all rights reserved.
Notice of Rights
All rights reserved. No part of this book may be reproduced
or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without
the prior written permission of the publisher.
For information on obtaining permission for reprints and
excerpts, contact Trish Booth at Peachpit Press.
Notice of Liability
The information in this book is distributed on an "as is"
basis, without warranty. While every precaution has been
taken in the preparation of this book, neither the author nor
Peachpit Press shall have any liability to any person or entity
with respect to any liability, loss, or damage caused or
alleged to be caused directly or indirectly by the instructions
contained in this book or by the computer software and
hardware products described herein.
Trademarks
Throughout this book trademarked names are used.
Rather than put a trademark symbol in every occurrence of
a trademarked name, we state we are using the names only
in an editorial fashion and to the benefit of the trademark
owner with no intention of infringement of the trademark.
ISBN 1-201-88598-0
10 9 8 7 6 5 4 3 2 1
Printed and bound in the United States of America
'TO S?l!Tan g{atey
·-witfz sratejul appreciation
for in{jirins, educatins,
an{GejriendieJ me'.
I advise the layperson
to spread Indio ink
on on uncorved board.
loy paper on top of it.
and print it.
He 1\ ill get a block print.
but the result is not
the blackness of ink.
it is the blackness of prints.
No1' the object
is to give this print
greater life and greater p01\er
by carving its surface.
Whatever I carve
I compare 1\ ith on uncorved print
and ask myself.
"Which has more beauty.
more strength.
more depth.
more magnitude.
more movement.
more tronquility7·
If there is anything here
that is inferior to on uncorved block.
then hove not created my print.
I hove lost to the block.
Shiko Munokoto
f3ontents
~eyond rrfl~e 3rCac is not a typewriter"
Introduction ...........................................................................
f>l-, X1
Review .............. ..................................................................... 15
f>l-,
Anatomy of Type .................................................................... I7
f>l-,
eA
Brie{ 3-Cistory of fly e
r9
'/ Centuries of Type ................................................................. .. 21
f>/,., Aldus Manutius ...................................................................... 28
and
~eadaCifity .Ee~iCdity
31
2 The Art of Readability .. .. .. .. .. . . .. .. . . .. . . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .. . 33
3 TheArtofLegibility .......................................................... . 43
~~~u~n~c~t~u=a~tL~·o~n_ ______________________________________ sr
4 Qyotation Marks and not Qyotation Marks .......... . .. .............. 53
5 Hang that Punctuation .. .. .. .. .. .. .. .. . .. . . . ...................... 57
6 Punctuation Style .. .. .. .. . . . . . ................................................ . 63
7 When to Shift that Baseline . . .. I . . . 71
Contents
Gxpert fl~pe 77
8 Expert Sets . .. . . . .. . . .. . . . .. . .. .. . . . . . . . . .. . . .. .. . . . . . . . . .. . . . .. . . . .. .. . . .. . . . . . . .. . . . . . 79
9 Small Caps .............................................................................. 85
10 Oldstyle Figures ..................................................................... 89
11 Ligatures ................................................................................ 91
12 Condensed and Extended Type ................................................ 93
13 Display Type .......................................................................... 97
3pacin~
101
14 Kerning ................................................................................. 103
15 Linespacing (leading) ............................................................. 109
16 Paragraph Spacing .................................................................. 113
17 Alignment .............................................................................. 115
~GJJ::.....e:::.!t=a.!:..!i:!l::..,s_ _________________
121
18 Headlines and Subheads ......................................................... 123
19 Pull Qyotes ........................................................................... 127
20 Captions ................................................................................ 131
21 Emphasizing Type . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
22 Line Breaks and Hyphenation ................................................. 139
Contents
=0-Fp-e::...c.::..=i.a.;;;=f---8='-l-j{ff-"-ec=-=t-s;:;___ ___________ ____cr4s
23 Swash Characters ................................................................... 147
24 Initial Caps ............................................................................ rsr
25 Typographic Color .................................................................. 155
26 Ornaments and Dingbats ....................................................... 159
27 Pi and Picture Fonts ............................................................... r6r
28 Don't be a Wimp! .................................................................. r6s
ffypographic e~OiCeS 167
29 Evocative Typography ............................................................ r69
30 Multiple Masters ................................................................... 173
31 Choosing a Typeface .............................................................. 179
32 Telltale Signs of Desktop Publishing ....................................... r89
33 Trends in Type, by John Tollett ............................................... 199
r3t~er J nlormation
209
I
~ Appendix A: font vendors ....................................................... 2u
~ Appendix B: fonts used in this book ........................................ 212
~ Index .................................................................................... 215
...
You can put a cat in the oven....,
but that don't ma~t a biscuiL.'